Uttarakhand > Utttarakhand Language & Literature - उत्तराखण्ड की भाषायें एवं साहित्य
Garhwali Folk Drama, Folk Theater, Community Rituals and Traditional Plays गढ़वा
Bhishma Kukreti:
Brief History of Garhwali Folk Plays/Traditional Dramas -2
Review of Characteristics of Garhwali Folk Drama, Folk Rituals and Traditional Plays part -5
Bhishma Kukreti
Brief about Prehistoric Dance by Human beings
Dance, Music, poetic or prose dialogues, body language are parts of dramas or plays. Dance might be in simplest form started with human being come into this world.
The earliest dance evidences are found from 8000-3000 BC. Gayle Kassing states that Prehistoric dance was very basic by using everyday movement. The themes of dance of prehistoric human beings were related to life challenges and these challenges were clearly visible even in Vedas. The dance themes of politics, social structures, and religions were interwoven.
The main themes of dance of primitive human beings were -
1-Fertility Theme- fertility of human beings, animals and plants
2-Life span – birth, marriage initiation or winning over woman, death or funeral
3-Winning war, battle, preparing hunt, gaining skill, death in any war or hunt etc
4-Healing dance or medical care dances
5-Suppernatural or religious or spiritual dances including imagination of god or ghost
History of Dramas in Copper, Bronze and Iron Ages
The Metal Age brought many changes in human culture. Human societies stated building /creating commercial centers, houses and started creating cities. The Age also saw interactions among various societies and regions. These developments brought many changes in dance, musical instruments, music, new knowledge and all these developmental changes also brought development in drama. Commerce always brings a drama in selling negotiations and ultimately that drama is still used in drams played for pleasure.
As far as culture of metal Age in Uttarakhand is concerned there are evidences that there was culture in all three Metal Ages. Mahabharata describes or provide signs that there were many aspects of Dramas in Uttarakhand Copper, Bronze and Iron Ages.
Kol Culture and religious Drama
Majumdar and Pusalkar (Vedic Age) describe that Kol culture of India including before Indus culture is responsible for creating various superstition as ‘Dag (envious Eye), Dhag or Ghat, The drama rituals ‘Nakjhad’ was also created by Kol of Uttarakhand (Dr. Dabral). Dr Dabral states that worshipping rivers, rivulets, tress or plants; black magic etc are the creation of Kol culture (before Idus civilization) . later on, Vedas and Ayurveda took many these superstitions as curing aspects.
Kol and Dravid also created vulture, bull,s mouse, dog , lion and many animals as deities and later Vedic culture made these animals as carrer of various deities. Disease and mental unrest cures by worshipping deities and chanting songs were started by Kol, Dravid cultures in India and Uttarakhand. Worshipping the dead soul (Hantya) where the dead soul acts as if the dead person is alive was started in Kol-Dravid . The Hnatya, Pitriprakop,, Bhut, Pret, Dakini, Chudail, Ghat, Dag , Doch, Jhada, tada culture (ritual dramas ) were started by Kols of Uttarakhand before 3000 years back.
Bhumiya or village deity is also started by Kol, Dravid people.
The animal sacrifice before deities where many dramas are still played was started by Kol, Dravid cultures.
Kirat culture gave Rudra, Ghantakarn deity and that shows that there were tens of fok dramas in that age before 3000 years back.
Khasa brought various dances, religious dramas to Uttarakhand. The acts at various festivals and events were there.
Kol, Dravid, Kirat and Khasa developed agriculture and social culture in Uttarakhand and definitely at that period, those cultures brought new dramas in prose and poetic forms. Agriculture brings always newer types of drams with the culture.
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Copyright @ Bhishma Kukreti, bckukreti@gmail.com 1/10/2013
Review of Characteristics of Garhwali Folk Drama, Folk Rituals and Traditional Plays part to be continued…6
References
1-Bharat Natyam
2-Steve Tillis, 1999, Rethinking Folk Drama
3-Roger Abrahams, 1972, Folk Dramas in Folklore and Folklife
4-Tekla Domotor , Folk drama as defined in Folklore and Theatrical Research
5-Kathyrn Hansen, 1991, Grounds for Play: The Nautanki Theater of North India
6-Devi Lal Samar, Lokdharmi Pradarshankari Kalayen
7=Dr Shiv Prasad Dabral, Uttarakhand ka Itihas part 1-12
8-Dr Shiva Nand Nautiyal, Garhwal ke Loknritya geet
9-Jeremy Montagu, 2007, Origins and Development of Musical Instruments
10-Gayle Kassing, 2007, History of Dance: An Interactive Arts Approach
Bhishma Kukreti:
Informal Stage/Theatre Settings in Garhwali folk Plays/Traditional Dramas/Theaters
Review of Characteristics of Garhwali Folk Drama, Folk Rituals and Traditional Plays part -10
Bhishma Kukreti
Where the drama is played that becomes Stage for Drama!
As far as stage for Garhwali folk plays /traditional plays/conventional theatres is concerned, there is not tendency of creating formal stage (Natya Manch) in Garhwali folk plays /traditional plays/conventional theatres. Where ever the play is played that place becomes stage for folk drama.
Usually, there were/are following informal stage for Garhwali folk plays /traditional plays/conventional theatres.
Courtyard of Village Chief as Stage for Garhwali folk plays /traditional plays/conventional theatres
In immediate past, there was accustom that professional drama/dance/song performing caste artists Badi used to play folk dramas in Chait month after every twelve year called Lang. Usually, plays for whole Chait month by Badi used to played in village chief courtyard.
There was /is custom to sing songs, dance and play folk drams in every Chait month by villagers and these dramas were /are played on the courtyard of village chief. This month is also called Geetun maina or month for songs.
Grazing Field as Stage for Garhwali folk plays /traditional plays/conventional theatres
When the cattle teamsters used to play drams in Jungle or grazing field that place used to become stage.
Individual home or courtyards as Stage for Garhwali folk plays /traditional plays/conventional theatres
When there would be religious rituals the place where rituals are performed that place become stage for folk dramas.
Resting place as Stage for Garhwali folk plays /traditional plays/conventional theatres
In any type of travelling (for example Dhakar), the villagers used to play dramas or people used to sing and dance at resting places. That place becomes as for Stage for playing folk dramas.
Religious tour and stage for folk dramas
There are many Jatras /religious tour performed in Garhwal by villagers. Various types of religious dramas are played in tour. Wherever the religious or sometimes secular drama is performed the place becomes stage for such folk plays or theaters.
Fairs/folk games and Festival places as Stage for Garhwali folk plays /traditional plays/conventional theatres
There are fairs /folk games and festivals in Garhwal where various religious or secular dramas are performed. Those places become automatically the stage for folk dramas.
Various social Events for Garhwali folk plays /traditional plays/conventional theatres
People play or perform dramas in various social events. Places of those events become the stages for folk dramas.
Therefore, it is true that Garhwali folk plays/ traditional dramas or theatres are not having definite set of planning for stage but stages are set as per time, class and place. Wherever the folk dramas are played that become stage for traditional theatre. Or it may be said that informal stage setting is found in Garhwali folk plays/traditional dramas/customary theatres.
Copyright @ Bhishma Kukreti, bckukreti@gmail.com 3/10/2013
Review of Characteristics of Garhwali Folk Drama, Folk Rituals and Traditional Plays part to be continued…
References
1-Bharat Natyam
2-Steve Tillis, 1999, Rethinking Folk Drama
3-Roger Abrahams, 1972, Folk Dramas in Folklore and Folklife
4-Tekla Domotor , Folk drama as defined in Folklore and Theatrical Research
5-Kathyrn Hansen, 1991, Grounds for Play: The Nautanki Theater of North India
6-Devi Lal Samar, Lokdharmi Pradarshankari Kalayen
7=Dr Shiv Prasad Dabral, Uttarakhand ka Itihas part 1-12
8-Dr Shiva Nand Nautiyal, Garhwal ke Loknritya geet
9-Jeremy Montagu, 2007, Origins and Development of Musical Instruments
10-Gayle Kassing, 2007, History of Dance: An Interactive Arts Approach
11- Bhishma Kukreti, 2013, Garhwali Lok Natkon ke Mukhya Tatva va Charitra, Shailvani , Kotdwara
Xx
Notes on Stage/Theatre Settings in Garhwali folk Plays/Traditional Dramas/Theaters; Stage/Theatre Settings in Garhwali folk Plays/Traditional Dramas/Theaters in Garhwal; Stage/Theatre Settings in Garhwali folk Plays/Traditional Dramas/Theaters in Uttarakhand; Stage/Theatre Settings in Garhwali folk Plays/Traditional Dramas/Theaters in Himalaya; Stage/Theatre Settings in Garhwali folk Plays/Traditional Dramas/Theaters in North India; Stage/Theatre Settings in Garhwali folk Plays/Traditional Dramas/Theaters in Indian Subcontinents; Stage/Theatre Settings in Garhwali folk Plays/Traditional Dramas/Theaters in SAARC Countries; Stage/Theatre Settings in Garhwali folk Plays/Traditional Dramas/Theaters in South Asia; Stage/Theatre Settings in Garhwali folk Plays/Traditional Dramas/Theaters in Oriental region ;
Bhishma Kukreti:
Emotions in Garhwali Folk Plays/Traditional Dramas /Community Theaters
Review of Characteristics of Garhwali Folk Drama, Folk Rituals and Traditional Plays part -11
Bhishma Kukreti
Bharat Muni states in Natyashastra that ‘Naatyam Bhavanukertinam’ or drama depends totally on emotions.
Creation of emotions in the mind of audience is the sole objective of any formal, informal plays. Every emotion moves towards bliss or extreme pleasure creation. However, in any drama or play there are two pleasure gainers –the performers and audience. Therefore it is essential that there should be proper balance between performers and audience for gaining pleasure by emotions in the drama.
Kukreti states in ‘Garhwali Lok Natkon ke Mukhya Tatva va Charitra’ (2013) that he is firm believer that the Garhwali folk drama creators understand the importance of creating emotions by their performances and the aspects of pleasure in the mind of audience.
The Garhwali folk play creators create emotions by following major means-
1-Body movements as – jumping, flexion, extension, rotation, circumduction, dorsiflextion, plantar flexion, dance running, hand movement, finger movement etc.
2-Facial Expression
3-Language changes or uses
4-Using Proverbs, saying, etc
5-Folk songs or folklores
6-Taking base from memorable event, memorable human being, animals or other memorable aspects
7-Dailogues
8-Let audience understand the drama objectives
9-Involving audience
Though, the folk performers are/were unaware about classic theories of emotions set by Bharat Muni. The folk people were aware that pleasure (they may say mood etc) creation is the job of any drama.
Copyright @ Bhishma Kukreti, bckukreti@gmail.com 4/10/2013
Review of Characteristics of Garhwali Folk Drama, Folk Rituals and Traditional Plays part to be continued…
References
1-Bharat Natyam
2-Steve Tillis, 1999, Rethinking Folk Drama
3-Roger Abrahams, 1972, Folk Dramas in Folklore and Folklife
4-Tekla Domotor , Folk drama as defined in Folklore and Theatrical Research
5-Kathyrn Hansen, 1991, Grounds for Play: The Nautanki Theater of North India
6-Devi Lal Samar, Lokdharmi Pradarshankari Kalayen
7=Dr Shiv Prasad Dabral, Uttarakhand ka Itihas part 1-12
8-Dr Shiva Nand Nautiyal, Garhwal ke Loknritya geet
9-Jeremy Montagu, 2007, Origins and Development of Musical Instruments
10-Gayle Kassing, 2007, History of Dance: An Interactive Arts Approach
11- Bhishma Kukreti, 2013, Garhwali Lok Natkon ke Mukhya Tatva va Charitra, Shailvani, Kotdwara
Xx
Notes on Emotions in Garhwali Folk Plays/Traditional Dramas /Community Theatres; Emotions in Garhwali Folk Plays/Traditional Dramas /Community Theatres from Garhwal; ; Emotions in Garhwali Folk Plays/Traditional Dramas /Community Theatres from Uttarakhand; ; Emotions in Garhwali Folk Plays/Traditional Dramas /Community Theatres from Himalayas ; ; Emotions in Garhwali Folk Plays/Traditional Dramas /Community Theatres from North India; ; Emotions in Garhwali Folk Plays/Traditional Dramas /Community Theatres from Indian Subcontinent; ; Emotions in Garhwali Folk Plays/Traditional Dramas /Community Theatres from South Asia; ; Emotions in Garhwali Folk Plays/Traditional Dramas /Community Theatres from Oriental region;
Bhishma Kukreti:
Pleasure Sentiment in Garhwali Folk Drama, Folk Theater /Traditional Plays[/b]
गढ़वाली लोक नाटकों में रति भाव
Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -12
Bhishma Kukreti
According to Bharat Natyshashtra, the pleasure sentiment in formal play is conveyed by a slight smile, delicacy of face, harmonious speech, delicate action of bows, oblique looks.
Usually, in the folk song-dance of Badi-Badan are of love raptures and Badi –Badan show pleasure sentiments beautifully.
I remember a folk drama played by my village (Jaspur, Dhangu) women in the Nach gan-Maina (Song-dance month) at night. I would like to name this folk play as “Chhuma Bau’. The folk play was based on a true story that a bachelor school teacher from far area and a widow fell in love with each other. Later on teacher refused to marry her and the widow was infamous in the territory due to her non social order love for a teacher. The widow ran from her family and became wife of farmer. She left farmer and married another person.
The area women created a folk song describing love between teacher and widow. The women who created this folk drama kept the dialogues in prose form too. A couple of love dialogues between teacher and widow are as under-
अध्यापक (खुस करने की मुद्रा में ) - हे बांद ! आज त तू बड़ी बिगरैलि लगणि छे
नायिका (शरमाकर, शरीर को बेल समान टेढ़ा , हिलाकर ) - ह ! ह ! किलै झूठ बुलणा छंवां ?
अध्यापक (उत्साह , ढाढस, मधुर, प्रेम युक्त आवाज में ) - सच्च ! तेरी सौं ! आज त तु औंसी रातै जून दिख्याणि छे
Teacher (to pamper his lover)-Hey! Today, you are looking the beautiful most.
Widow the lover (acting as cripple plant, in embarrassing mood, pleasure mood) - Why are you telling a lie?
Teacher – I sway you, I am telling the truth. You are looking as moon in New Moon night.
The above play ‘Chhuma Bau’ was performed before bright lantern light. The women actors performed the play with full enthusiasm and showed pleasure sentiment marvelously. It was just a pleasure to see the eye movements of woman performing widow.
Copyright @ Bhishma Kukreti, bckukreti@gmail.com 5/10/2013
Review of Characteristics of Garhwali Folk Drama, Folk Rituals and Traditional Plays part to be continued…
References
1-Bharat Natyam
2-Steve Tillis, 1999, Rethinking Folk Drama
3-Roger Abrahams, 1972, Folk Dramas in Folklore and Folklife
4-Tekla Domotor , Folk drama as defined in Folklore and Theatrical Research
5-Kathyrn Hansen, 1991, Grounds for Play: The Nautanki Theater of North India
6-Devi Lal Samar, Lokdharmi Pradarshankari Kalayen
7-Dr Shiv Prasad Dabral, Uttarakhand ka Itihas part 1-12
8-Dr Shiva Nand Nautiyal, Garhwal ke Loknritya geet
9-Jeremy Montagu, 2007, Origins and Development of Musical Instruments
10-Gayle Kassing, 2007, History of Dance: An Interactive Arts Approach
11- Bhishma Kukreti, 2013, Garhwali Lok Natkon ke Mukhya Tatva va Charitra, Shailvani, Kotdwara
Xx
Notes on Pleasure Sentiment in Garhwali Folk Drama, Folk Theatre/Traditional Plays; Pleasure Sentiment in Garhwali Folk Drama, Folk Theatre/Traditional Plays of Tehri Garhwal; Pleasure Sentiment in Garhwali Folk Drama, Folk Theatre/Traditional Plays of Chamoli Garhwal; Pleasure Sentiment in Garhwali Folk Drama, Folk Theatre/Traditional Plays of Rudraprayag Garhwal; Pleasure Sentiment in Garhwali Folk Drama, Folk Theatre/Traditional Plays of Uttarkashi Garhwal; Pleasure Sentiment in Garhwali Folk Drama, Folk Theatre/Traditional Plays of Pauri Garhwal ; Pleasure Sentiment in Garhwali Folk Drama, Folk Theatre/Traditional Plays of Dhangu, Garhwal ; Pleasure Sentiment in Garhwali Folk Drama, Folk Theatre/Traditional Plays of Gangasalan, Garhwal ; Pleasure Sentiment in Garhwali Folk Drama, Folk Theatre/Traditional Plays of Garhwal, Himalayan region ; Pleasure Sentiment in Garhwali Folk Drama, Folk Theatre/Traditional Plays of Garhwal North India ; Pleasure Sentiment in Garhwali Folk Drama, Folk Theatre/Traditional Plays of Garhwal, South Asia ; Pleasure Sentiment in Garhwali Folk Drama, Folk Theatre/Traditional Plays of Garhwal, Oriental region ;
Bhishma Kukreti:
Laughter Sentiment in Garhwali Folk Plays/ Traditional Dramas/ Community Theaters
गढ़वाली लोक नाटकों में हास /हौंस भाव
Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -13
Bhishma Kukreti
Bharat Muni defines laughter sentiment in drama that laughter sentiment is stimulated by caricaturing the actions of others, by various smiles, laughter, excessive laughter and the like.
The laughter emotion or sentiment in Garhwali folk dramas might come by –
1-The Folk drama character argues ideas.
2-The folk drama performer uses wits, clever language for mocking
3-The folk drama Character uses satire or criticism
4-There are misgivings, mistiming, misgivings, misunderstandings etc in folk drama
5-There is loss of identity due to accident or fate in folk drama. Or the characters become puppet of fate.
6-There is slapstick comedy in folk drama
Usually, in prose folk drama performed by Badi a folk drama community of Garhwal have/had laughter sentiments than other sentiments. This is also correct for other Garhwali community prose plays.
According to quantum of laughter, Bhishma Kukreti (2013) divided r the Garhwali folk plays (especially) prose folk drama) into following categories
1-Smit/Mul Mul hauns or very small smile
2-Surak surak hansan or unhurried smile
3-Hansan or average smile
4- sadharan hansan or medium laughter
5- Khit Khit hansna or laud laughter
6-Lauder laughter
Examples of Laughter sentiment in Garhwali Prose Folk Drama
Our village Badi perfumed this folk drama in the month of Chair perhaps in 1965-66. That year was the year of Lang in Jaspur, Dhangu village of Pauri Garhwal. In Lang year in Chait month Badi with their family members stay in the village and perform drams in night.
बाद्युं एक हंसण लाण वाळ स्वांग
गाँव वाळ अयेड़ी खिलणो बौण अयां छन। ग्राम प्रधान अर गाँव वाळुन घ्वीड़ देखिन।
ग्राम प्रधान जोर से धै लगान्दु ," घ्याळ ना करिन ! घ्याळ ना करिन ! घ्याळन घ्वीडुंन भाजि जाण "
गां वाळुन भी धै लगाइ , " घ्याळ ना करिन ! घ्याळ ना करिन ! घ्याळन घ्वीडुंन भाजि जाण "
घ्वीड़ गां वाळु घ्याळ सूणि भाज जांदन।
बाद्युं ये स्वांग देखिक दिखंदेर (दर्शक ) जोर जोर से हंसण मिसे जांदन।
The drama started by Badi as the villagers are in forest for hunting deer. The village chief saw deer herd. The village chief shouted to his village fellows,” Don’t Shout! Don’t Shout! By shout the herd of hare would run away”. All the hunting fellows shouted more loudly, ,” Don’t Shout! Don’t Shout! By shout the herd of deer would run away”. The hare herd ram away.
The audience laughed loudly.
### Read more examples of Laughter sentiments in Garhwali Folk Plays/ Traditional Dramas/ Community Theatres in part -14
Copyright @ Bhishma Kukreti, bckukreti@gmail.com 7/10/2013
Review of Characteristics of Garhwali Folk Drama, Folk Rituals and Traditional Plays part to be continued…
References
1-Bharat Natyam
2-Steve Tillis, 1999, Rethinking Folk Drama
3-Roger Abrahams, 1972, Folk Dramas in Folklore and Folklife
4-Tekla Domotor , Folk drama as defined in Folklore and Theatrical Research
5-Kathyrn Hansen, 1991, Grounds for Play: The Nautanki Theater of North India
6-Devi Lal Samar, Lokdharmi Pradarshankari Kalayen
7-Dr Shiv Prasad Dabral, Uttarakhand ka Itihas part 1-12
8-Dr Shiva Nand Nautiyal, Garhwal ke Loknritya geet
9-Jeremy Montagu, 2007, Origins and Development of Musical Instruments
10-Gayle Kassing, 2007, History of Dance: An Interactive Arts Approach
11- Bhishma Kukreti, 2013, Garhwali Lok Natkon ke Mukhya Tatva va Charitra, Shailvani, Kotdwara
Xx
Notes on Laughter Sentiments in Garhwali Folk Plays/ Traditional Dramas/ Community Theatres; Laughter Sentiments in Garhwali Folk Plays/ Traditional Dramas/ Community Theatres from Garhwal; Laughter Sentiments in Garhwali Folk Plays/ Traditional Dramas/ Community Theatres from Uttarakhand; Laughter Sentiments in Garhwali Folk Plays/ Traditional Dramas/ Community Theatres from central Himalaya; Laughter Sentiments in Garhwali Folk Plays/ Traditional Dramas/ Community Theatres from North India; Laughter Sentiments in Garhwali Folk Plays/ Traditional Dramas/ Community Theatres from Rural India; Laughter Sentiments in Garhwali Folk Plays/ Traditional Dramas/ Community Theatres from SAARC countries; Laughter Sentiments in Garhwali Folk Plays/ Traditional Dramas/ Community Theatres from South Asia ; Laughter Sentiments in Garhwali Folk Plays/ Traditional Dramas/ Community Theatres from Oriental continent;
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